Cuando estudiaba C.O.U. tenía una asignatura de lo más bizarra: “Fe y cultura”. Como ya no te podían dar clases de religión, lo que hacían era advertirte de los males que acechaban en el mundo exterior a base de películas que luego analizábamos. La gracia del asunto es que a través de “Fe y cultura” descubrí dos de mis películas favoritas: Yo, Christiane F. y Alguien voló sobre el nido del cuco. Resulta cuando menos irónico que intentaran llevarnos por el “buen camino” con películas así.

La historia de Christiane F. es bastante conocida: vive en Berlín, se hace adicta a la heroína con 14 años, se prostituye para conseguir drogas… y dos periodistas avispados que  escriben con ella su biografía: Yo, Christiane F. Quien no conozca la historia, aquí encontrará todos los datos. Es un libro que la mayoría de los adolescentes alemanes leen en algún momento de su vida, pero que aquí en España es casi imposible encontrar.

Uli Edel, director de Der Baader Meinhof Complex, llevó la historia de Christiane F. al cine, lo que hizo que se convirtiera en un personaje de culto: llegó a grabar discos y a compartir escenario con Blixa Bargeld.

Casi todos sus amigos murieron por el camino y ella, a día de hoy, sigue luchando por desintoxicarse.

La de la foto de arriba es la verdadera Christiane F., aunque casi todo el mundo asocia su imagen a la de la actriz que le dio vida en la película:

Film has long been a source of inspiration for designers, stylists and artists and this season is no different! Personally the first time I was really inspired by film was Titanic; the Edwardian splendor of the costumes was breath-taking and since then I’ve looked to film every season to help introduce a fresh approach to my new season wardrobe.

This autumn/winter the British style conscious has been greatly influenced by the film adaptation of Observer journalist, Lynne Barber’s memoir, An Education. Starring Rosamund Pike and set in the early 1960s, the film showcases a kind of sleazy yet innocent style of dress which flits seamlessly between glamour and toughness. Leopard prints, silk head-scarves, leather driving gloves, winkle picker heels, luxe furs and seriously big glamourous coiffes all combine to bring the recent trend for ‘toughness’ back to a femininity which seems appropriate at the moment.

Still from An Education...I want these clothes!

Another film this season which is making waves for the trend spotters is Nine, starring more Oscar winning glamazons than I can name! The styling is impeccable, lots of silk sheath dresses, massive furs, dripping diamonds red lips, luxe underwear (think stockings, basques etc. – glamour really is back!

Nicole Kidman in a still from Nine

I’ve picked out the best items here at Harrison which perfectly give you that cinematic look; the best way to do it is to introduce smaller pieces to your existing wardrobe and have fun!

leopard scarf for the sixties look!

super glam dress for the Nine look

lace blouse, perfect for an understated glamour

leopard dress...don't wear it with the scarf! chic is the name of the game!

vibrant cardigan, great tucked into a pencil skirt with the leopard scarf for sixties style

beautiful ruffled cardigan, gorgeous with everything for Oscars-worthy glamour

lovely faux fur gilet, perfect with the pink cardigan and leopard scarf!

All clothes are available from the Harrison Online Store which you can access HERE

Of course, there are so many more influential films to mention, but I’d need to write a book to cover them all! If you’re looking for further film inspiration, here’s my definitive list of films which have influenced me. Feel free to add to the list if you think I’ve overlooked any!

Wir Kinder Vom Bahnhoff Zoo (1970s German film, very grungy, think David Bowie gone to seed)

Almost Famous (hippy, rock chic, groupie style)

Rebecca (amazing 1930s glamour)

All About Eve (Bette Davis at her best in incredible dresses)

Gilda (Rita Hayworth in THAT dress)

Rear Window (Grace Kelly’s clothes in this are fabulous, but it’s the jewellery that gets me every time!)

Bonny and Clyde (Faye Dunaway looking fantastic in natty wee hats)

Blow Up (sixties-tastic cult movie, great psychedelic garb)

The Eyes of Laura Mars (sexy, provocative, sleazy and high fashion, amazing film, you must see it)

Les Diaboliques (mad French film noir, very prim and conservative dress but with a dark undertone)

Titanic (Edwardian excess on the doomed liner, Kate Winslet’s wardrobe is beyond gorgeous in this)

Brideshead Revisited (Flappers and playboys have a great time in 1920s party wear)

Un saluto da Christiane F

This weekend I watched the movie “Christiane F., Wir Kinder vom Bahnhof Zoo” (1981) for the second time. The movie is based on a true story about a German girl, Christiane Felscherinow, who lived in Berlin. The story is about her experimenting with drugs at an age of 12, to fit in with a group of older friends. At 14 she was addicted to heroin and worked as a prostitute at a Berlin train station (Bahnhof Zoo). I watched it for the first time when I was 11 or 12 years old and it made a deep impact on me then. After seeing that movie I thought drugs were disgusting and wanted to have nothing to do with it.

After reading some interviews with Kate Moss and Chloë Sevigney, in which they both mentioned Christiane F. as a style icon, I was curious about the looks in the movie and watched it again. After I saw it I couldn’t care less about the outfits, the story is so tragic and sad and made me aware how easy it is to become attracted to the “glamorous” side of drugs when you are young. And made me realise how sick it is that a skinny 14 year old girl, who prostitutes herself to be able to buy heroin, is considered an “icon”.

Natja Brunckhorst as Christiane and Thomas Haustein as Detlev.

The movie is absolutely brilliant because it captures the atmosphere of being young really well: wanting to wear your mother’s heels, going to gigs/disco’s for the first time, and falling in love with guys who treat you like shit…..  Anyway, although I don’t want to advertise the junkie look for the reasons mentioned above, it’s nice to see what how people dressed in the late seventies. Not only Christiane, but also Detlev and their group of friends are all dressed simular nonchalant: skinny jeans, satin bomber jackets, waistcoats, skinnny belts and necksarves and lovely ankle boots.

Some pictures: 

Last year I watched for the first time a film about drugs addiction (Requiem for a dream) and I decided to start a cinematographic session about this big issue. My mother was really worried about it even if I don’t smoke, drink or take drugs . Let’s start from my favourite:

1# REQUIEM FOR A DREAM

I watched this movie for a banal reason. I love Jared Leto as a singer and after watching Alexander I decided to watch all his movies (and I did it). This film was a real surprise for me. It was the first about this theme that I’ve ever watched and I fell in love with it from the first scene. The photography is particular and the repetitive gestures make you feel alienated just like the characters. The soundtrack is brilliant, it’s tragic and moving thanks to the violins. The cast is amazing and this film really deserved an Oscar.

As you can see in the page “About me” my avatar is an eye… now you understand why!

2# Christiane F. – Wir kinder vom Bahnhof Zoo

It’s a German film that really deserve to be watched. Another film really tragic and realistic. Probably one of the most realistic. The book is even better than the movie and it’s a true story. The soundtrack is full of David Bowie’s songs because he’s considered the symbol of that generation.

#3 Trainspotting

A classic. The script is great as the soundtrack, but it’s not one of my favourite movies. I can’t find an exact reason but probably because I found it comic in some points and I don’t think that the theme is funny. Ewan McGregor is perfect for the part and it’s one of his best performances (I love him in Moulin Rouge).

4# Candy

Another good film, maybe not as realistic as the others but sweet and tragic at the same time. This movie is about love and drugs which are both addictions. Heath Ledger was really amazing and I really miss his performances.

What do you think about them? Do you know others about this theme?

XOXO MARYG90

Old blog entry from February 2009.

Teen films fell off. It isn’t just because I’m getting old. At least I don’t think so. Eccentricities gave way to whimsy, Black Flag on the soundtrack was surpassed by My Chemical Romance to attract the dispossessed. Nearly everything that ever exits a studio is whitewashed crap. Remember when horror flicks got all self-referential and contemporary Shakespeare adaptations were the thing? Dark days. Bullys and Doom Generations were condemned to arthouses. Bad times. Things never did get back on track.

From a very personal point-of-view, 1979-1981 was a vintage era, coughing up a brace of darker flicks that apparently had something of an impact on the mindstate of elder ‘tastemakers’ (excuse me, I just threw up in my mouth a bit) of today. For the most part, they went wood at the box office, destined to cultdom, which would explain just why they don’t make ‘em anymore. I’m not so naive to kid anyone that for every ‘The Wanderers’ there wasn’t drivel like ‘The Apple’ aimed at youth groups, but lately everything’s been so self consciously kooky and referential, I almost yearn for a futuristic rock opera with biblical overtones. Almost.

It probably lies in the fact that some of the most underrated teen movies are genuinely  pretty damned edgy – a 25 year old in a varsity jacket suffering a pre-graduation crisis? Fuck that. The makers of  ‘Over The Edge’ (1979), ‘Times Square’ (1980), ‘Ladies and Gentlemen, The Fabulous Stains’ (1981), ‘Pixote’ (1981) and ‘Christiane F’ (1981) went full throttle, and cast real teens as kids gone wild, proto riot grrrls, lesbian new wavers, tragic street kids and drug addicted prostitutes respectively. It made for some occasionally daft but memorable films.

‘Times Square’ reeks of cash-in but carries a few killer apps in its choice of casting. Runaway girls from different backgrounds go on the run and accidentally become the ‘big thing’ on the NYC new wave scene. Tim Curry plays a DJ who alternates between cool and being one of the most punchable performers of all time during a scene where the politician father of the richer runaway confronts him. Seeing as it was intended to be some kind of post-punk ‘Saturday Night Fever’, and director Allan Moyle was told to excise scenes of overt lesbianism between the two leads, and pretty much all involved washed their hands of it. The Manic Street Preachers covered ‘Damned Dog’ as performed in the film on their debut album, back when they were good, and trying to be Hanoi Rocks rather than dadrockers. Robin Johnson’s performance is stunning, possibly one of the debut greatest screen performances of all time – she convinces as someone mentally ill without getting all ‘I Am Sam’ or adopting the Brad Pitt twitch, and after this film…pretty much MIA. Someone even dedicated a site to locating her.

Allan seemed to have some wilderness years, before helming the same mix of zeitgeist and simplistic plot devices (school nerd is actually a pirate radio DJ of some note when darkness falls!) with ‘Pump Up The Volume’ in 1990, which had an excellent soundtrack that included a pointless but interesting MC5 cover by Bad Brains and Henry Rollins.

But if it’s neon fonts, Tim Curry, ‘Down In The Park’  and ‘I Wanna Be Sedated’ you’re after, well, you’re in luck.

‘Ladies and Gentlemen….’ has as much to mock as to admire within it running time. It’s got a supergroup with Paul Simenon, Steve Jones, Paul Cook and Ray Winstone in yet it maintains a certain charm. Saved from obscurity last year by a DVD reissue, complete with commentary, it was shelved from cinema release after completion.  The 1999 Grand Royal article with contributions from Thurston Moore and Courtney Love cemented the hard-to-find status. The scene where Diane Lane gets aggravated and creates a formula for the group however, is pretty remarkable. There’s a good piece on it here, but the aforementioned magazine article from director Sarah Jacobson remains one of the most interesting ‘making of’ articles I’ve ever read. Sarah was a tireless campaigner for the movie’s recognition, making documentaries about it, and sadly passed away at the age of 32 in 2004. She had a point. It’s  not subtle, but it’s puncuated with unexpectedly gritty moments.

According to apochryphal sources, ‘Christiane F’ somehow upped the numbers of heroin users in Germany on release, but it’s hard to see how an ulcers and all depiction of drug use and the squalid ins and outs of the Bahnhof Zoo could be in any way aspirational. Maybe it’s the unintentional teutonic style everyone sports, maybe it’s the oddly leniant parenting the titular Christiane is subjected to. Maybe it’s the Bowie appearance. Thomas Haustein is excellent as Christiane’s boyfriend and went on to act in absolutely nothing again, making Robin look prolific by comparison. The scene where a desperate junkie leaps into a toilet cubicle steals our hero’s stash and promptly injects it into his neck in front of a shocked old lady is as good a drug P.S.A. as any. ‘Trainspotting’ and ‘Drugstore Cowboy’ don’t even come close.

‘Pixote’ was directed by Hector Bibenco who earnt himself an Oscar for ‘Kiss Of The Spiderwoman’ and is almost unwatchably grim, depicting the struggle of a homeless boy bouncing from children’s homes to the street, and the increasingly desperate scenarios he finds himself in. It’s one of Harmony Korine’s favourite film, and it’s clear that the use of an unknown cast from the areas in question and unflinching style had a vast influence on ensuing releases at home and abroad. Fernando Ramos da Silva, a newcomer who (are you noticing a depressing trend here?) never went on to any real film career is astonishing in the title role, seemingly ageing scene-by-scene, like ‘The Painted Bird’s narrator or Aleksei Kravchenko in ‘Come And See’.

da Silva was hailed by the critics, but, by all accounts made little money. Critical plaudits don’t necessarily pay the rent. In 1987 he was shot dead by the police. His short life is dramatised in the 1996 film ‘Who Killed Pixote?’. There’s a news report of his death here. It’s particularly depressing, but makes for a sobering epilogue to the ‘Pixote’ plot.

Another thing that leaks the four films above is the situations they place their young actors in. While I’m opposed to censorship, these films would maintain their appeal without the more questionable moments, and it’s the moments of nudity and sexuality that led to them being buried in favour of more populist depictions what are allegedly the happiest days of your life.

With the recent hoo-ha surrounding ‘Notorious’ which carries a whiff of missed opportunity and straight-to-DVD about it, the Darby Crash biopic ‘What We Do Is Secret’ at least attempts to depict the golden era I’m talking about. While the film is, going against the bandname, more than a little sterile, any film with a dramatised Claude Bessy is at least worth watching once.

However, this footage, and the dumb notion of replacing Darby with some guy from ER for shows, pretty much sums up what’s wrong with everything nowadays. An S.U.V. mounting that curb would have benefited the planet.

Following on…

When I was a teenager my Father decided that myself and my younger Brother should watch a pirate VHS copy of the film Christiane F the idea being that we would think twice about taking drugs. Daft concept seeing as watching his friends pass out in their dinner was enough to put us off for life. 

In retrospect what this film did do was give me a love of the following: the German language, Bowie, satin jackets and boyish clothes on girls. I even dyed my hair bright red in homage. Unfortunately for me I did not look like Miss F and bore more than a passing resemblance to Ronald McDonald.

For these facts (and many more fashion inspirations) Dad I thank you xxxxx

Christiane F. – Wir Kinder vom Bahnhof Zoo (1981)

Following worldwide acclaim for Der Baader Meinhof Komplex/The Baader Meinhof Complex, writing/directing team Uli Edel and Bernd Eichinger are turning their attention to Germany’s most popular rap artist, Bushido. The pair told told Variety that the film will be based on Bushido’s best-selling autobiography, which describes the MC’s Eminem-like rise from drug dealer to hip-hop firebrand.

It’s quite a radical step from making the Red Army Faction young and sexy. Although Bushido is German-Algerian, his rhymes have been denounced as nationalist and the rapper has refused to condemn his right wing fans. Like his cousins across the Atlantic, Bushido has also been keeping it real with the usual bodyguard rumbles. He was arrested after tangling with a vandal he claims slashed the tires of his BMW 7 Series. Nevertheless, his singles “Alles Verloren,” “Ching Ching” and “Fur immer jung” have all entered the German Top 10.

Edel and Eichinger say the film will give them an opportunity to revisit the raw style of their first film together, 1981’s junkie docudrama Wir Kinder vom Bahnhof Zoo/Christiane F.. That’s certainly better than the raw style of Edel’s Madonna sex stinker Body of Evidence.

Bushido found himself in Neo-Nazi company when Germany’s Federal Department for Media Harmful to Young Persons added three of his albums to its register, including one which the rising star recorded in his mom’s apartment. The records were cited for misogynist lyrics like “Just because you’re a woman doesn’t mean I won’t beat you until you’re blue.” The department’s director said, “It’s as dangerous to advocate violence against women as it is violence against immigrants.”

Of the skinhead fans who have adopted him as a hero, Bushido told the New York Times, “There is no trying to understand Nazis, but what are you going to do? Are you going to ban them, put them in jail so that they hate you even more? If that guy is cool with me during the hour in which I’m giving my concert and respects the other people, then I think I’ve done a good job.”

All of which should make for plenty of brick throwing if Bushido ever sees the light of day.

é uma inspiração para mim sempre

Marta mi manda questo link, che mi aveva già segnalato un’altra amica: non me lo manda perchè è sadica (o magari un poco sì), ma perchè sa che io ci rimugino.
Infatti lo faccio. Da quanto ho capito, Hell è la storia della solita adolescente cattiva cattiva, raccontata un bel po’ di volte, da Françoise Sagan (Bonjour Tristesse, molti e molti anni fa), e poi da Christiane F. (Noi, i ragazzi dello Zoo di Berlino), e poi ancora da Melissa P. Qui la variante è che la signorina in questione, quella che si presenta con “Sono una troia”, è particolarmente odiosa, perchè da quanto capisco le sue trasgressioni (alcool-coca-sesso) vengono dalla noia e dai troppi soldi, e non dal desiderio di infrangere qualche regola sociale.
Quando ho leggiucchiato link e paginetta a disposizione, ho pensato anche io alla stessa cosa: ma che noia.
Immagino che il libro venderà, peraltro: l’effetto riconoscimento (sono adolescente e voglio leggere il libro di un’altra adolescente come me che fa cose che io non farò mai) funziona quasi sempre.
Però sono sconfortata: perchè da questo tipo di cose ci si aspetta almeno un minimo di qualità artigianale (letteraria no, figurarsi). E qui non sembra proprio esserci. Uffa.

FILME: EU, CHRISTIANE F., 13 ANOS, DROGADA E PROSTITUIDA

Título Original: Christiane F. – Wir Kinder vom Bahnhof Zoo
Gênero: Drama
Tempo de Duração: 125 minutos
Ano de Lançamento: (Alemanha) 1981
Estúdio: Spectra
Distribuição: Spectra
Direção: Uli Edel
Roteiro: Herman Weigel, Kai Hermann e Horst Rieck
Produção: Bernd Eichinger
Elenco
Natja Brunckhorst (Christiane)
Thomas Haustein (Detlev)
Jens Kuphal (Axel)
Christiane Reichelt (Babsi)
Daniela Jaeger (Kessi)
David Bowie
Rainer Woelk
Jan Georg Effler
Kerstin Richter
Eberhard Auriga
Peggy Russiek
Lothar Chamski
Uwe Diderich
Ellen Esser
Andreas Fuhrmann
Sinopse: Na cidade de Berlin nos anos 70, Christiane (Natja Brunckhorst), uma linda adolescente, mora com sua mãe e sua irmã menor em um típico apartamento da cidade. Ela é fascinada para conhecer a “Sound”, uma nova e moderna discoteca. Apesar de menor de idade ela pede a sua amiga para leva-la lá ela conhece Detlev (Thomas Haustein), assim ela se aproxima do terrível mundo das drogas. Primeiro é o álcool, depois a maconha, assim passo a passo ela começa a mergulhar cada vez mais profundamente no submundo do vício e da prostituição colocando-se à beira da morte. Um filme de cenas fortes e muito reais que nos transmite os horrores do mundo do vício entre os jovens.

Comentário: o horror das drogas que nos mostravam no colégio. Chocante e incrível.

MÚSICA: SUZANNE VEGA – LUKA

Christiane Vera Felscherinow (Winehouse) ainda não se livrou da guerra particular iniciada em 1975 contra as drogas. Aos 43 anos, a alemã chegou a um estado que alguns médicos consideram “irreversível”: sofre de hepatite tipo C e de graves problemas circulatórios. A senhora Felscherinow é, para o mundo, Christiane F., drogada e prostituída aos 13 anos (que ainda está viva… Eu não me drogo e vou morrer antes, legal). Seu drama de vício da heroína virou best seller e filme cultuado na década de 80 (TOP 3 dos colégios religiosos).

Hoje, 27 anos depois do livro, Christiane é um retrato, ainda vivo, do poder destruidor das drogas. Apenas em dezembro de 2005, o serviço público de saúde alemão registrou duas internações da paciente, que há anos passa por inúmeros tratamentos de desintoxicação. Todos, invariavelmente, não a livraram do uso de heroína (droga de rico… se fosse pobre, usava cola, crack, enfim… CULPEM AS PROFESSORAS DE RELIGIÃO QUE COMPRAM QUILOS DE LIVROS/FILMES DA CHRISTIANE F. E PATROCINAM A DEGRADAÇÃO ALHEIA. World peace).

A iminência de um “colapso circulatório com potencial risco às funções vitais” é descrita em pelo menos um relatório médico. Christiane tem de passar regularmente por sessões de hemodiálise. Mas além das agulhas e injeções hospitalares, ela sempre recorreu ao “pico” da heroína.

Sem emprego fixo (=puta), Christiane sobrevive dos royalties das obras às quais empresta sua história (EU DISSEEEEEEE! CULPA DOS COLÉGIOS RELIGIOSOS!). A vendagem de livros e a exibição do filme, porém, têm sido cada vez mais escassos (pois é, nem Titanic fez sucesso por 27 anos…). Sua situação financeira é limítrofe (mas ela tem grana pra heroína… Legal): vive com dois tios e o filho de 9 anos, Jan-Nicklas, num apartamento modesto em Berlim. É seu sétimo endereço em 15 anos (Eu, Christiane F., 43 anos, drogada e nômade).

Desde que se tornou famosa ao ser “descoberta” por dois jornalistas alemães, que publicaram suas memórias em série na prestigiosa revista Stern, em 1979, Christiane tentou reconstruir a vida, sem sucesso. Chegou a anunciar que estava “limpa”, livre das drogas (aham Cláudia, senta lá). Anos depois, admitiu que isso nunca ocorreu, a não ser por um período máximo de cinco meses.

Fez curso de contabilidade (=puta), mas quando começou a trabalhar num escritório acabou presa por posse de droga, em 1983. Depois, tentou ser vendedora de livros: durou três semanas na profissão. Christiane brincou (eu ri) de atriz (interpretou uma dançarina de boate num filme B) e foi cantora de banda punk. Nada sério. Convicta, ela sempre diz que não se considera uma vítima das drogas. Pelo contrário, garante que faz tudo de forma absolutamente consciente (oi?).

Em entrevista ao semanário holandês De Limburger, em 2005, Christiane deu um recado às milhares de pessoas que se chocam (mas que também admiram) com a sua história. “Eu nunca quis ser exemplo de nada a ninguém (ufa, que alívio…), acho que cada um deve saber o que está fazendo. Eu, pelo menos, sei o que faço (e faz muito bem, diga-se de passagem… -eu uso heroína há 30 anos, todos os dias… e nao tô viciada!)”.

Divórcio dos pais
O inferno de Christiane Vera Felscherinow começou em 1973, quando seus pais se divorciaram. Freqüentadora da discoteca Sound, conheceu Detlef, que se tornaria seu namorado. Viciado em heroína e garoto de programa (partidão), Detlef introduz (em) Christiane (ufa) na “gangue do Zôo”, grupo de jovens berlinenses que usavam drogas numa famosa estação de metrô da cidade alemã.

No local, ela se prostituiu dos 13 aos 15 anos, necessitando de três “picaos” (doses da droga) por dia na reta final. No início, fazia programas para completar o valor do “pico”. Ela dizia que só admitia sexo oral ou masturbação nos clientes (isso aí, dignidade já). Dizia ser “seletiva”, repelia os “nojentos” (aquele tipinho que pega garota de programa de 13 anos em estação de trem, sabe? Os outros, nada contra, acho ótimo), levava uma tarde inteira pra aceitar um cliente. Depois, mudou, aceitava o primeiro que aparecia, tinha relações dentro de carros.

Os mercenáios aproveitadores jornalistas Kai Herman e Horst Rieck, da revista Stern, notaram a presença da garota durante uma reportagem e escreveram uma série de reportagens na publicação. Foi a origem do livro.

O ex-namorado Detlef ainda está vivo e mora em Berlim. Com filho e mulher, ele se diz limpo.

Christiane F. defende traficantes, droga e Hitler

Deutschland in den 70ern. Die radikalisierten Kinder der Nazi-Generation, angeführt von Andreas Baader (Moritz Bleibtreu), der ehemaligen Starkolumnistin Ulrike Meinhof (Martina Gedeck) und Gudrun Ensslin (Johanna Wokalek), kämpfen gegen das, was sie als das neue Gesicht des Faschismus begreifen: die US-amerikanische Politik in Vietnam, im Nahen Osten und in der Dritten Welt, die von führenden Köpfen der deutschen Politik, Justiz und Industrie unterstützt wird.

Die von Baader, Meinhof und Ensslin gegründete Rote Armee Fraktion hat der Bundesrepublik Deutschland den Krieg erklärt. Es gibt Tote und Verletzte, die Situation eskaliert, und die noch junge Demokratie wird in ihren Grundfesten erschüttert. Der Mann, der die Taten der Terroristen zwar nicht billigt, aber dennoch zu verstehen versucht, ist auch ihr Jäger: der Leiter des Bundeskriminalamts Horst Herold (Bruno Ganz). Obwohl er große Fahndungserfolge verbucht, ist er sich bewusst, dass die Polizei allein die Spirale der Gewalt nicht aufhalten kann.

Drehbuchautor und Produzent Bernd Eichinger (DAS PARFUM – DIE GESCHICHTE EINES MÖRDERS, DER UNTERGANG) bringt für Constantin Film Stefan Austs Standardwerk über den RAF-Terrorismus DER BAADER MEINHOF KOMPLEX auf die Kinoleinwand. Regisseur Uli Edel (LETZTE AUSFAHRT BROOKLYN, CHRISTIANE F. – WIR KINDER VOM BAHNHOF ZOO) inszeniert die dramatischen Ereignisse, die von 1967 bis zum “Deutschen Herbst” 1977 die demokratischen Grundpfeiler der Bundesrepublik Deutschland ins Wanken brachten.